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Xinyu Zheng
Painting on canvas may be the most common medium throughout art history, but the
mid-20th century saw a period in which it was relatively little used. With the public focused on
the endlessly emerging new mediums, such as wall painting, film, installation, and performance,
some artists brought canvas painting back to the world stage as a demonstration of their
innovative individual ideologies. David Salle is one of those artists; his method of connecting
unrelated things on the same frame differentiates him from his neo-expressionist peers. However,
rather than presenting a detached, objective view, Salle is in fact conveying his ideology that
subjectivity connects all objects. As the artist, Salle partly shares his identity with viewers
because the thought he wants to express is based on every viewers individual experience and
knowledge. By juxtaposing seemingly unrelated objects and guiding viewers to connect them
with their subjective thinking, Salle exemplifies how everything is connected by subjectivity. As
Barnett Newman says, in effect that for Americans there is no objective universe, only masses
of disparate data.1
painting on canvas to illustrate the three-dimensional world. They expelled such forms of
painting and explored new and varied media to convey their messages based on personal
ideology. Since this moment, art was no longer objective and figurative, but used more to present
Within a few decades, this trend of anti-painting art reached its peak, but artists began to
consider how far could they reach by using traditional forms of painting to express their
subjective world. This thought against the major anti-painting trend led to a return to painting
challenged various aspect of the definitions of traditional painting: color, medium, motif, and
subject. Canvas painting focused less on the figurative and objective and more on the abstract
and subjective, since contemporary artists focused on describing psychology rather than the
shape of things. For example, David Salles works share a common factor, which is that they
juxtapose subjects from life, cultural motifs from different nations, appropriated works from
earlier artists, historical events, or nude female figures in the same frame. It is hard to
differentiate all these elements and understand Salles intention at first viewing because he
avoids all appearances of a narrative linking the sub-images in all his works.3 Indeed, his
juxtaposition of various items shows his viewers contradiction, mystery, and conflict, but no
discontinuous painting encourages his viewers to identify the intrinsic connections and
relationships among every seemingly-unrelated section. Viewers therefore interpret this based on
their individual experience, mentality, and background. Supported by viewers curiosity and
2. McEvilley, Thomas. The Exile's Return: Toward a Redefinition of Painting for the Post-
modern Era (Cambridge [England]: New York: Cambridge University Press, 1993), 1
exploration, Salle creates new relationships between the motifs he chooses in one work and
be satisfied by simply admiring the purity of beauty, but prefer to observe art as one object with
the other information sources. In effect, Salles juxtaposition fulfills the requirement from
unsatisfied and curious viewers that each segment of his painting shares no apparent connection
with others, and indeed, each works title offer no hint as to the meaning.4 In Fooling with Your
Hair (1985, Fig. 1), Salle divides the frame into two equal layers; each is divided into much
smaller sections. There appears to be no direct connection between the layers. On the top layer,
three complete ovals and two incomplete ovals roughly match each other. The three complete
ovals are red, yellow, and blue, which was intentional by the artist as they are primary colors. As
Diacono notes, the two statues that appear inside the yellow and blue ovals are two Giacometti
sculptures, which is a reference to an event happened in 1950: Barnett Newmans first exhibition
in New York, which was deemed an attack on art.5 On the lower level, in three almost equally
divided sections, Salle painted nude female figures, which is common in his work. These three
nude figures are more like serialized cartoon, which shows more continuity and a sense of story.
Although the figures identities are vague, it is likely that he is depicting the same woman in
three different poses; this encourages viewers to seek continuity and a plot to identify this
woman. These three lower sections also clearly show the light coming from different directions,
which suggests that a certain amount of time has passed between each of these three scenes.
4. Ibid., 57
5. Ibid., 56
5
Also, since Salle divided these two layers into two roughly equal sections, he implies that they
are similar in importance. All these fragments of information encourage viewers to find the
intrinsic connections among the sections. This method of juxtaposing elements in such a ratio
and pattern enables Salle to make his viewers participate in his creation and become part of his
work.
In effect, Salle does not only create connection between unrelated objects, but also makes
efforts to eliminate the solid prejudice of objects. In another work, the Gericault's Arm (1985,
Fig. 2), Salle displays female nudity without a hint of eroticism. This exemplifies his desire for
dividing the meaning of the thing in the painting from the meaning of thing in the world. 6 Salle
adds Gerricaults work, a painting of a disembodied arm, in place of one of the female figures
head, which makes the painting more surreal rather than erotic. Also, he chooses to add one toy-
like object in between the two nude female figures, who are depicted with traditionally erotic
poses and half-covered bodies. In fact, this object shares a similar shape with these two female
figures. This connection of shape makes viewers reconsider what a nude female body means
when it is removed from its erotic subtext built in public awareness and classical art. Through
exhibiting multiple aspects of things that are typically displayed negatively or are prejudiced
against with unrelated objects, Salle encourages viewers to reconsider, reevaluate, and redefine,
1981), 410:4.
7. Kalb, Peter R. Art since 1980: Charting the Contemporary (2013), 71.
6
Salle also frequently borrows motifs and works from earlier artists, which are commonly
deemed as high art, but intentionally juxtaposes them with vulgar figures, popular icons, and
cultural items from different nations. In Lampwicks Dilemma (1989, Fig. 3), he borrows
multiple works from Velasquez, Bernini, and Cezanne, who are recognized as masters of art.
However, he juxtaposes their works and overlaps them with each other to break the originals
completeness. Additionally, in Ugolinos Room (1990-91, Fig. 4), he adds highly modernist
dialog boxes with various other shapes and colors on group scene of medieval figures. This
addition partly brings historical times in connection with modernity, and changes viewers aspect
of being bystanders by putting classical figures into current daily life. All these features look like
invaders of the original works, but a strong impact is expressed through the juxtapositions. In
those juxtapositions, Salle also attempts to challenge the attitude of viewing masterpieces or
existing objects, as he says, the paintings have to be die; that is, from life but not a part of it, in
order to show how a painting can be said to have anything to do with life in the first place.8
Within the same frame, juxtaposing seemingly unrelated items creates a sense of change
in time, space, and identity, since every section is clear and solid, but Salle offers no thread to
link these fragments. Through this method, Salle creates an interaction between his work and its
viewers. He offers viewers space for considering based on every individuals experience and
knowledge, for them to find their own meaning. In his juxtapositions, which encourage people to
consider the links between objects, Salle exemplifies how a connection could be built between
8. Wallis, Brian. Art after Modernism: Rethinking Representation (New York: Boston: New
Bibliography
Diacono, Mario. Iconography and Archetypes: The Form of Painting, 1985-1994. Milano:
SilvanaEditoriale, 2010.
Fooling with Your Hair, Lampwick's Dilemma, Ugolino's Room, Salle, David. Accessed
at http://www.davidsallestudio.net
Hubert, et al. Christian, Post-Modernism: A Symposium, Real Life Magazine (Summer 1981).
McEvilley, Thomas. The Exile's Return: Toward a Redefinition of Painting for the Post-modern
Era. Contemporary Artists and Their Critics. Cambridge [England]: New York:
Sandler, Irving. Art of the Postmodern Era: From the Late 1960s to the Early 1990s. 1st ed. New
Contemporary Art. New York: Boston: New Museum of Contemporary Art; D.R.
Godine, 1984.
8
Figure 1, David Salle, Fooling with Your Hair, 1985. Oil on canvas;
Figure 2, David Salle, Gericault's Arm, 1985. Oil and synthetic polymer paint on canvas.
Figure 3, David Salle, Lampwick's Dilemma, 1989. Oil and acrylic on canvas.
Figure 4, David Salle, Ugolino's Room, 1990-91. Acrylic and oil on canvas.